Heidi Waleson is a critic with The Wall Street Journal. This account has been auto-generated, and does not indicate that this person is an active member of Show-Score.com. That said, if you "follow" this member, you will automatically be updated whenever s/he writes a new review.
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"Umberto Giordano’s 'Fedora' (1898) proved to be perfect New Year’s Eve fare at the Metropolitan Opera on Saturday night...David McVicar’s handsome new production offered plenty of eye candy and kept the entertainment level high without cheesy overreach." Full Review
"The show is a feat of technical wizardry, encompassing a turntable that revolves almost constantly—during the action and while set pieces are moved on and off it—as well as a lot of live and pre-recorded video. Yet the most startling effect is how profoundly this thoughtful interpretation erases the opera’s Romantic aura and accentuates its universal despair, upending the traditional balance of tragedy elevated through beautiful sounds. Here, the singers, especially the two splendid leads, r... Full Review
"A superb assemblage of performers is juxtaposed against giant drawn, animated or historical video images...In Kentridge’s collage style, disparate elements are layered to create a powerful unity. In one indelible scene, the shadows of a procession of people carrying the materials of war are cast on the screen behind, where they mix with video shadow images of other carriers, an endless parade of cannon fodder. But Kentridge ensures that these shadow people also have voices." Full Review
"It’s a complicated story, and first-time librettist Peers, who also directed, tried to jam too much information into 90 minutes. It was hard to follow if you didn’t know the story...Some of the scenes were overly long, and tension was most often expressed with extreme volume, which was oppressive in the small space, and sometimes drowned out crucial text...Peers’s flowing direction created an intriguing dreamscape, but couldn’t disguise the dramatic hiccups of the piece." Full Review
"Most of the opera’s action scenes revolve around Clarissa, and their lack of musical momentum reveals the opera’s principal flaw: It has well-crafted episodes and deft, imaginative transitions, but the story arc is carried by the libretto rather than the music." Full Review
"In Mr. Armfield’s direction, nothing is ever quite realistic, whether it’s Hamlet leaping around the stage like a child playing hopscotch, or the chorus lined up and facing forward, rigid as automatons." Full Review
for a previous production “Rigoletto” is a barn-burner—you have to gallop along with the sexism, violence and sentimentality in order for it to work. In this production, despite some gripping theatrical and vocal moments, the all-consuming sense of tragedy was missing." Full Review
"The numbers still speed along, and pauses for reflection go by too fast to touch the heart…Cast with a mix of opera and musical-theater performers, all amplified. For the most part, the opera singers had the edge…Prince led the orchestra in a workmanlike, rather stolid performance…The score, as always, is a masterpiece...There have been numerous rethinkings of 'Candide' in the past 35 years and this might have been an opportunity to look ahead, rather than indulge in nostalgia." Full Review
"Dizzily inventive and colorful...A sad-sack nobody acquires a golem...First it does his bidding, but then it takes him over, and the show becomes a heavy-handed metaphor for the pernicious rise of consumerism...The squeaky monotones of the five live actors were a deliberate contrast to the antic brilliance of the animated drawings...The piece feels long, and the music is a nattering background, but the variety and deployment of Barritt’s deceptively simple drawings are astonishing." Full Review